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Author Biography

Ann Sutherland Harris is Professor of the History of Art and Architecture at the University of Pittsburgh.

Table of Contents

Preface

viii

Introduction

xi

Politics, Religion, and Art

xi

The Economics of Art

xii

Geography, Cosmology, and Astronomy

xiii

Concepts of the Body, Ancient and Modern

xv

Education and Literacy

xvi

Artists' Changing Status and Training

xvii

New Subjects, New Genres

xviii

Transforming the Renaissance and ``Baroque'' Art

xxi

Italy

1

(142)

The Decline of Mannerism

3

(1)

Architecture and City Planning in Rome, 1585--1625

4

(3)

Bolognese Painting: The Carracci Reform

7

(14)

Painting in Rome, 1585--1610

21

(13)

Annibale Carracci in Rome, 1595--1609

24

(10)

Michelangelo Merisi da Caravaggio

34

(16)

Caravaggio's Italian Followers

50

(6)

The Carracci Succession in Rome and Bologna

56

(22)

Architecture and City Planning in Rome, 1625-1680

78

(7)

Italian Sculpture

85

(28)

Gian Lorenzo Bernini's Early Career

86

(5)

Bernini, Algardi, and the Portrait Bust

91

(3)

The Competition: Alessandro Algardi and Francesco Duquesnoy

94

(5)

Bernini and Urban VIII

99

(9)

Algardi and Bernini during the Papacy of Innocent X

108

(5)

Painting in Rome, 1623--1680

113

(21)

Pietro da Cortona

113

(7)

Andrea Sacchi

120

(3)

Pietro da Cortona in Florence and Rome

123

(2)

Carlo Maratta

125

(2)

Giovanni Battista Gaulli (II Baciccio)

127

(7)

Painting in Naples

134

(9)

Flanders

143

(52)

Peter Paul Rubens

145

(29)

Rubens in Italy, 1600-1608

148

(4)

Rubens in Antwerp, 1609--1622

152

(13)

Rubens, Diplomat and Artist, 1622-1630

165

(4)

Rubens's Last Decade, 1630--1640

169

(5)

Anthony van Dyck

174

(8)

Van Dyck in England and Italy, 1621--1627

176

(4)

Van Dyck's Second Antwerp Period, 1627--1632

180

(2)

Jacob Jordaens

182

(4)

Still-Life Genre Painters

186

(9)

Spain

195

(48)

Spanish Architecture

196

(1)

Spanish Sculpture

197

(3)

Spanish Painting, 1600--1650

200

(32)

Jusepe de Ribera

201

(7)

Francisco de Zurbaran

208

(9)

Diego Velazquez in Seville

217

(3)

Velazquez in Madrid, 1623--1648

220

(8)

Velazquez in Italy, 1648--1651

228

(1)

Velazquez in Madrid, 1651--1660

228

(4)

Spanish Painting, 1650--1700

232

(11)

Bartolome Esteban Murillo

232

(7)

Juan de Valdez Leal and Claudio Coello

239

(4)

France

243

(68)

Architecture and City Planning

244

(10)

Paris: The Pont-Neuf, Palais du Luxembourg, and Hotel de la Vrilliere

244

(4)

Expansion under Louis XIV; The Louvre and Versailles

248

(6)

French Sculpture

254

(4)

Pierre Puget

255

(1)

Francois Girardon and Antoine Coysevox

256

(2)

French Painting and Printmaking

258

(53)

Simon Vouet

260

(3)

Valentin de Boulogne

263

(1)

Georges de la Tour

264

(3)

Simon Vouet's Successors

267

(2)

Philippe de Champaigne

269

(4)

Nicolas Poussin in Paris and Rome

273

(6)

Poussin after 1630

279

(10)

Poussin and Landscape Painting

289

(3)

Poussin's Last Works

292

(3)

Claude Lorrain and French Landscape Painting

295

(8)

Charles Le Brun and the Academy

303

(8)

The Dutch Republic

311

(76)

Haarlem and the Creation of a Dutch National Style

313

(2)

The Haarlem Mannerists

313

(2)

The Utrecht ``Caravaggisti''

315

(4)

Frans Hals and Dutch Portraiture

319

(8)

Town Planning and Architectural Developments in Haarlem and Amsterdam

327

(6)

Painting in Amsterdam

333

(1)

Rembrandt van Rijn and his School

334

(22)

Rembrandt's Early Years in Leiden

334

(2)

Rembrandt in Amsterdam, 1627--1639

336

(5)

Rembrandt's Self-Portraits

341

(3)

Rembrandt in Amsterdam, 1639--1642

344

(2)

Rembrandt's Landscape Prints and Drawings

346

(2)

Rembrandt after 1642

348

(6)

Rembrandt's Artistic Heirs

354

(2)

Dutch Genre Painting before 1650

356

(5)

Judith Leyster

358

(3)

Dutch Genre Painting after 1650

361

(17)

Johannes Vermeer

366

(8)

Jan Steen

374

(4)

Landscape Painting before 1650

378

(2)

Early Tonal Landscape Painting

378

(2)

Landscape Painting after 1650

380

(7)

England

387

(17)

English Painting

388

(8)

Van Dyck in England

388

(5)

Later Portrait Painters

393

(3)

Palladianism and Architectural Planning in London

396

(8)

Inigo Jones

396

(2)

Christopher Wren

398

(6)

Epilogue

404

(3)

Notes

407

(1)

Timeline

408

(4)

Bibliography

412

(4)

Picture Credits

416

(1)

Index

417

Excerpts

THIS BOOK IS WRITTEN as an introduction to the most significant artistic developments in Western Europe in the seventeenth century. It is intended to inform students of art and the interested reading public about a period that encompassed the careers of many of the bestknown artists of European history. The text privileges painting over sculpture and architecture. Far more painting than sculpture was produced because the latter is an expensive medium and fewer artists took it up. Dutch, Flemish, and English patrons usually imported sculptors or sculpture from France or Italy, so their own sculpture is not covered here. French, Spanish, and Italian sculpture is covered with an emphasis on Gian Lorenzo Bernini, the transformative genius of this medium in the seventeenth century. The achievements of Europe's architects and builders could easily have dominated everything else in the book. Because architectural history is usually taught separately in American colleges (except in introductory survey courses), this text focuses on a few key architects and monuments, and on city planning in Rome, Paris, and London. Those readers whose main interest is architecture of this period will find books such as the PelicanHistory of Art(Yale University Press) and Baroque (Kdnemann; ed. Rolf Toman) readily available sources of supplementary information. This book focuses on the six countries whose art and architecture is usually taught in courses on European Baroque art--Italy, Flanders, Spain, France, the Dutch Republic, and England. There is no chapter on artists from eastern or central Europe (what remained of the Holy Roman Empire), because the turmoil of the Thirty Years' War, finally ended by the Treaty of Westphalia in 1648, did not allow any cities in these countries to provide steady patronage for native artists for most of the seventeenth century. The Habsburg court of Emperor Rudolf II in Prague, where he ruled from 1576 until 1612, attracted painters, engravers, and sculptors from Antwerp, Amsterdam, Frankfurt, Basle, and Milan. Their sophisticated style became the final fling of Mannerism. The court moved to Vienna in 1620. Most ambitious young artists born in the territories now called Germany, Austria, and the Czech Republic left for Flanders or Italy, ostensibly to train, but many never returned; among those were the painters Adam Elsheimer, included here in the chapter on Italy, and Johann Liss from Oldenburg, who died in Venice. The first and longest chapter is devoted to Italy. In the sixteenth century Italy became a magnet for artists from the Netherlands and France, while Italian artists were sought by courts in Spain, France, and England. The influence of Raphael, Michelangelo, and their successors soon reached Antwerp, Madrid, and Fontainebleau outside Paris. Thus, the logical place to begin our story is Italy, specifically Bologna and Rome where the Carracci and Caravaggio began the stylistic revolution that deposed an international Mannerist style and replaced it with other styles based on renewed life study and a respect for Renaissance artists least affected bymaniera.The Counter-Reformation Church offered so many opportunities for artists in Rome that the city became the most important center of artistic production in Europe. Its only rivals in Italy were Bologna and Naples, the former too small to offer serious competition (although its artists were enjoying their greatest period of achievement), the latter controlled by the Spanish monarchy. Venice produced no worthy successors to Titian, Tintoretto, and Veronese until the eighteenth century. Thus Rome remained the most important European city for ambitious artists until Paris gradually replaced it in the nineteenth century. The next chapters discuss Flanders and Spain, whose developments were most directly affected by Italian art. Both were Catholic countries and Flanders (the Spanish Netherlands) was still part of